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Schneider-Gabriel Galleries records

Creator:
Schneider-Gabriel Galleries (New York, N.Y.)  Search this
Names:
Gluckmann, Grigory, 1898-1973  Search this
Pach, Walter, 1883-1958  Search this
Stuart, Gilbert, 1755-1828  Search this
Extent:
0.9 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1918-1953
Summary:
The Schneider-Gabriel Galleries records measure 0.9 linear feet and date from 1918 to 1953. The collection is comprised mostly of photographs of paintings that span the European and American continent, dating from the 13th century to the mid-20th century. The collection also includes correspondence relating to the sale, conservation, and legitimacy of the New York gallery's artwork; a folder of papers concerning the immigration of artist Grigory Gluckmann and his wife, Anna, to the United States in 1941; financial records comprised of scant bills, checks, and statements; the catalog draft from a Walter Pach exhibition; and correspondence, printed material, and provenance records concerning portraits of George Washington by Gilbert Stuart.
Scope and Contents:
The Schneider-Gabriel Galleries records measure 0.9 linear feet and date from 1918 to 1953. The collection is comprised mostly of photographs of paintings that span the European and American continent, dating from the 13th century to the mid-20th century. The collection also includes correspondence relating to the sale, conservation, and legitimacy of the New York gallery's artwork; a folder of papers concerning the immigration of artist Grigory Gluckmann and his wife, Anna, to the United States in 1941; financial records comprised of scant bills, checks, and statements; the catalog draft from a Walter Pach exhibition; and correspondence, printed material, and provenance records concerning portraits of George Washington by Gilbert Stuart.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Schneider-Gabriel Galleries was an art gallery in New York, New York, started circa 1938 by art dealers Albert Schneider and Gilbert Gabriel. Before starting their own business, Schneider and Gabriel worked with John Levy of John Levy Galleries in New York in the 1920s. Schneider-Gabriel exhibited and dealt paintings, mostly portraits and landscapes, by well-known European artists from the 13th to 20th centuries as well as a number of American artists from the 19th and 20th centuries. Artists whose work was sold and exhibited by Schneider-Gabriel include Walter Pach, Winslow Homer, Alexander Canedo, Gilbert Stuart, Jean-Baptiste-Camille Corot, and among many others.
Provenance:
The collection was donated circa 1958 by the widow of Albert Schneider.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Function:
Art galleries, Commercial -- New York (State)
Citation:
Schneider-Gabriel Galleries records, 1918-1953. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.schngall
See more items in:
Schneider-Gabriel Galleries records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9326ea1d8-3ec3-4aa0-9fc5-a43e952572d9
EDAN-URL:
ead_collection:sova-aaa-schngall
Online Media:

East Side Gallery records

Creator:
East Side Gallery (New York, N.Y.)  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1961-1970
Summary:
The East Side Gallery records measure 0.4 linear feet and date from 1961 to 1970. The small collection sheds light on the gallery through correspondence, exhibition announcements, catalogs, and flyers, photographs, press releases, clippings, and two artist resumes.
Scope and Contents:
The East Side Gallery records measure 0.4 linear feet and date from 1961 to 1970. The small collection sheds light on the gallery through corespondence mostly with artists, museums and galleries, and art publications; exhibition announcements, catalogs, and flyers from solo and group shows held at East Side Gallery; photographs of artwork by Maria Szeni, Lily Shuff, Linda Cross, and more, the East Side Gallery exterior, and one of artist Luis Lujan; newspaper and magazine clippings from exhibition advertisements and reviews; and artist resumes for Jan Gary and Willam D. Gorman. Also found in the collection are printed materials from the American Academy of Arts and Letters, New York State Council on the Arts, and an exhibition catalog for Mark Freeman's exhibition, Dimension Prints (1963), held at the Parrish Art Museum in New York.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
The East Side Gallery was founded in New York City by Mark Freeman in 1961. Located on 37th Street, the gallery showed a variety of painters, sculptors, and graphic artists. Artists exhibited at the gallery include Jan Gary, Willam D. Gorman, Luis Lujan, Gail Paradise, Maria Szeni, Linda Cross, and the gallery founder himself, Mark Freeman. The gallery was open seven days a week until it closed in 1970.
Provenance:
The collection was donated in 1976 by gallery founder and director Mark Freeman.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Function:
Art galleries, Commercial -- New York (State)
Citation:
East Side Gallery records, 1961-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.eastside
See more items in:
East Side Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw971033c4b-2129-408e-a5d5-03134c5cb22c
EDAN-URL:
ead_collection:sova-aaa-eastside
Online Media:

Stable Gallery records

Creator:
Stable Gallery  Search this
Names:
New York School of poets and painters  Search this
Groh, Alan, 1923-1996  Search this
Scull, Robert, 1917-1986 -- Art collections  Search this
Ward, Eleanor, 1912-1984  Search this
Extent:
2.9 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Video recordings
Sketchbooks
Sound recordings
Photographs
Date:
1916-1999
bulk 1953-1970
Summary:
The Stable Gallery records measure 2.9 linear feet and are dated 1916-1999 (bulk 1953-1970). The gallery was known for its representation of the New York School. Records consist mainly of artist files containing biographical notes, correspondence, price lists, sales and payment information, printed matter, and photographs. A small number of gallery administrative and financial records are included, along with printed matter, photographs, and personal papers and estate records of gallery founder and owner Eleanor Ward. There are also reminiscences by gallery owner Eleanor Ward and her assistant Alan Groh, a sound cassette recording of Eleanor Ward, and a videoreel (1/2 inch) documentary of a 1973 Sotheby auction of works from the Robert C. Scull collection.
Scope and Content Note:
The Stable Gallery records measure 2.9 linear feet and are dated 1916-1999 (bulk 1953-1970). The gallery was known for its representation of the New York School. Records consist mainly of artist files containing biographical notes, correspondence, price lists, sales and payment information, printed matter, and photographs. A small number of gallery administrative and financial records are included, along with printed matter, photographs, personal papers, and estate records of gallery founder and owner Eleanor Ward. There are also reminiscences by gallery owner Eleanor Ward and her assistant Alan Groh, a sound cassette recording of Eleanor Ward, and a videoreel (1/2 inch) documentary of a 1973 Sotheby auction of works from the Robert C. Scull collection.

The Stable Gallery's administrative records includes both general correspondence and copious letters from Eleanor Ward to Alan Groh, her assitant regarding gallery business, lists, floor plans, financial records, printed matter, and photographs of unidentified artwork and exhibition installations. There are also reminiscences by gallery owner Eleanor Ward and Alan Groh, a cassette recording of Eleanor Ward, and a film recording of a 1973 Sotheby auction of works from the Robert C. Scull collection. Additional Stable Gallery administrative and financial information, as well as related printed matter is included with the artist files.

Artist files contain biographical notes, correspondence, price lists, printed matter, and photographs of artists and artwork. The correspondence includes memoranda regarding payments to artists and sales information. Among the printed matter is documentation of the Stable Gallery and other exhibitions, reviews, and miscellaneous articles. Unfortunately, no records about the famous Stable Annuals held between 1953 and 1957 survive.

Artwork consists of 4 sketchbooks and loose sheets with charcoal drawings by unidentified artist(s).

The Eleanor Ward papers include miscellaneous personal papers and records concerning her estate. Photographs in the series are of Eleanor Ward, friends and family, parties, and the interior and exterior of Ward's Connecticut house.
Arrangement:
The collection is arranged as four series:

Missing Title

Series 1: Administrative Records, 1955-1986 (0.5 linear feet; Boxes 1, 4, 5)

Series 2: Artist Files, 1952-1997 (1.6 linear feet; Boxes 1-2)

Series 3: Artwork, circa 1955-1970 (3 folders; Box 4)

Series 4: Eleanor Ward Papers, 1916-1999 (0.5 linear feet; Boxes 2-4, 5)
Historical Note:
Established in 1953 by Eleanor Ward (1911-1984), the Stable Gallery derived its name from its first home, a former livery stable on Seventh Avenue at West 58th Street, New York City. Long interested in art and recognized for her "good taste" and "flair," Mrs. Ward had vaguely considered the idea of opening her own gallery for some time and received encouragement from Christian Dior, with whom she had worked in Paris. In 1952, opportunity arose to lease a suitable building that would later become a gallery. At first, Ward and a friend sold mannequins and made the large, empty space available for fashion photography; in December, she operated a Christmas boutique for a few weeks.

The Stable Gallery opened in 1953 with an exhibition of work by Ward's friend Mike Mishke, a commercial artist. She then arranged for the Stable Gallery to host a sequel to the 1951 Ninth Street Show (the initial show, organized by the Club with financial assistance from Leo Castelli, was held in an empty store on Ninth Street). The New York Artists Annual, better known as the Stable Annual, was selected by the artists themselves; this well-attended, widely-reviewed, and influential exhibition continued until 1957. Participating artists included Philip Guston, Franz Kline, Willem deKooning, Robert Motherwell, Jackson Pollock, Robert Rauschenberg, Ad Reinhardt, Richard Stankiewicz, and Jack Tworkov.

The Stable Gallery soon became a gathering place for artists, including some not in Stable's "stable." Over the years, the Stable Gallery presented the first one-man shows of Robert Indiana, Cy Twombly, and Andy Warhol. Among the artists closely associated with the gallery were: Joseph Cornell, Edward Dugmore, John Ferren, Alex Katz, Conrad Marca-Relli, Marisol, Joan Mitchell, Isamu Noguchi, Richard Stankiewicz, Cy Twombly, Jack Tworkov, and Wilfred Zogbaum. The gallery was known for dramatic, somewhat theatrical installations, and occasionally presented exhibitions beyond its usual focus (photographs by Hans Namuth and pre-Columbian sculpture, which personally interested Ward).

When the block where the Stable Gallery stood was razed in 1960 to make way for a high rise apartment building, Mrs. Ward moved her gallery to 33 East 74th Street, where she was able to maintain an apartment for herself upstairs. Quite abruptly, Ward closed the Stable Gallery in 1970, noting changes in the art scene, growing commercialization, and a loss of enthusiasm that made the gallery merely a business for her. Alan Groh (1923-1996), who started as Eleanor Ward's assistant in 1956 and was eventually named gallery director, became director of A. M. Sachs Gallery. Mrs. Ward traveled widely and acted as an art consultant to selected clients.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Eleanor Ward conducted by Paul Cummings, February 8, 1972.
Provenance:
The Stable Gallery records were the gift of the Estate of Eleanor Ward. In 1984, artist files were received from Alan Groh, executor of Ward's estate and her assistant at the Stable Gallery. Additional records were donated in 1997 by Buzz Miller on behalf of the Estate of Eleanor Ward; Mr. Miller was Alan Groh's partner and executor of his estate. Another addition was received in 1999 from Paul Gardner, executor of the Estate of Buzz Miller. A final addition of 0.2 liner feet was donated in 2019 by Nancy Berner, Alan Groh's niece.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
New York school of art  Search this
Art, Modern -- 20th century -- Exhibitions  Search this
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Drawings
Video recordings
Sketchbooks
Sound recordings
Photographs
Citation:
Stable Gallery records, 1916-1999, bulk 1953-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stabgall
See more items in:
Stable Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw991ac322b-59f8-40f3-8b7a-926e8ffb653b
EDAN-URL:
ead_collection:sova-aaa-stabgall
Online Media:

Ultravideoform (2004)/Jaime Davidovich Television and Video Works: 1970-2007 (2007), Mitchell Algus Gallery

Collection Creator:
Davidovich, Jaime, 1936-2016  Search this
Container:
Box 1, Folder 34
Type:
Archival materials
Date:
circa 2003-2007
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jaime Davidovich papers, 1949-2014. Archives of American Art, Smithsonian Institution.
See more items in:
Jaime Davidovich papers
Jaime Davidovich papers / Series 4: Exhibition Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw944568299-e6d5-4751-9c5a-0697998b6af2
EDAN-URL:
ead_component:sova-aaa-davijaim-ref34
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  • View Ultravideoform (2004)/Jaime Davidovich Television and Video Works: 1970-2007 (2007), Mitchell Algus Gallery digital asset number 1

Guggenheim Fellowship Proposal

Collection Creator:
Davidovich, Jaime, 1936-2016  Search this
Container:
Box 2, Folder 6
Type:
Archival materials
Date:
2005-2006
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jaime Davidovich papers, 1949-2014. Archives of American Art, Smithsonian Institution.
See more items in:
Jaime Davidovich papers
Jaime Davidovich papers / Series 5: Project and Source Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c57554fb-b864-4629-b50c-a31067e9d2d7
EDAN-URL:
ead_component:sova-aaa-davijaim-ref50
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  • View Guggenheim Fellowship Proposal digital asset number 1

Indiana, Robert (biographical materials)

Collection Creator:
Stable Gallery  Search this
Container:
Box 1, Folder 44
Type:
Archival materials
Date:
1962-1968
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Stable Gallery records, 1916-1999, bulk 1953-1970. Archives of American Art, Smithsonian Institution.
See more items in:
Stable Gallery records
Stable Gallery records / Series 2: Artist Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93d23d06a-7f9e-4182-9f58-795961720f47
EDAN-URL:
ead_component:sova-aaa-stabgall-ref45
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  • View Indiana, Robert (biographical materials) digital asset number 2
  • View Indiana, Robert (biographical materials) digital asset number 3
  • View Indiana, Robert (biographical materials) digital asset number 4
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  • View Indiana, Robert (biographical materials) digital asset number 6

Thread Waxing Space records

Creator:
Thread Waxing Space (Gallery)  Search this
Extent:
36.7 Linear feet
3.86 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Video recordings
Date:
1980s-2001
bulk 1991-2001
Summary:
The records of the New York City gallery Thread Waxing Space measure 36.7 linear feet and 3.86 GB and date from 1980s-2001 (bulk 1991-2001). Exhibitions and events held at the gallery are documented through correspondence, artists' bios, printed and digital materials, shipping records, photographic materials, audiovisual materials, and other administrative records. Also found are a handful of artist research files, clippings, and press books.
Scope and Contents note:
The records of the New York City gallery Thread Waxing Space measure 36.7 linear feet and 3.86 GB and date from 1980s-2001 (bulk 1991-2001). Exhibitions and events held at the gallery are documented through correspondence, artists' bios, printed and digital materials, shipping records, photographic materials, audiovisual materials, and other administrative records. Also found are a handful of artist research files, clippings, and press books.

Program Files provide a nearly comprehensive documentation of the exhibitions, performances, lectures and other programs held at Thread Waxing Space. Materials include correspondence, contracts, administrative records, printed materials, photographic materials, audiovisual materials, and scattered electronic records.

Research Files include a handful of folders containing materials related to artists, such as resumes, biographies, printed and digital materials, clippings, and scattered correspondence. Press books containing photocopied newspaper and magazine articles, scattered clippings and scattered printed materials are found in Press Files. Audiovisual Materials contain sound and video recordings presumably of artists found in the Program Files series.

Exhibitions and performances for which there is considerable documentation in the collection include Post-IZUM Moods Music Series (1993), "Don't Look Now" (1994) curated by Joshua Decter, "Garbage!" (1995), "Beyond Ars Medica: Treasures from the Mutter Museum" (1995-1996), "European Comics: Another Image" (1997), "Celluloid Cave" (1997), "Ascent of Western Civilization: American Independent Rock, 1976-1991" (1997), "Jump Cut (Faust)" (1997), "Sanctuary: A Spiritual Music Festival" (1998), "Conceptual Art as Neurobiological Praxis" (1999), "Foul Play" (1999), and "Mr. Fascination" (1999-2000); and traveling exhibitions "Archigram: Experimental Architecture 1961-1974" (1998-1999), "Spectacular Optical" (1998-1999), "After the Gold Rush" (1999), and "Achieving Failure: Gym Culture 2000" (2000).
Arrangement note:
The collection is arranged as 4 series:

Missing Title

Series 1: Program Files, 1980s-2001 (Boxes 1-38; 35.7 linear feet, ER01-ER16; 3.86 GB)

Series 2: Research Files, 1993-2000 (Box 35; 8 folders)

Series 3: Press Files, 1991-circa 2001 (Boxes 35, 38; 0.4 linear feet)

Series 4: Audiovisual Materials, 1989-1993, undated (Boxes 35-36; 0.6 linear feet)
Biographical/Historical note:
Founded by Tim Nye, Thread Waxing Space opened in September 1991 on the second floor of 476 Broadway in New York City. Named after the building's previous occupants -- a factory which produced waxed thread -- the non-profit gallery and performance space explored the interdisciplinary nature of the arts and expanded the boundaries of a traditional gallery through diverse programming.

Thread Waxing Space had multiple exhibition spaces, including the main gallery where the gallery's curators and independent curators organized solo and group exhibitions of contemporary artists working in all types of mediums; the Project Room, a space typically showing works of emerging or under-represented artists; and the Kitchenette, showing works by video artists. In addition to solo and group exhibitions, dance performances, readings, musical events, film screening, lectures, discussion panels, benefits, and arts education programs for students were all frequently held at Thread Waxing Space.

Exhibitions in the main gallery and the Project Room typically ran concurrently for 4-6 weeks. One of the more prominent exhibits held at Thread Waxing Space was "Beck & Al Hansen: Playing With Matches," an exhibit of artworks by musician and songwriter Beck and his grandfather, Fluxus artist Al Hansen. Other artists with solo exhibitions at Thread Waxing Space include Leonardo Drew and Virgil Marti. Thread Waxing Space closed in 2001.
Provenance:
The Thread Waxing Space records were donated in 2008 by Thread Waxing Space founder Tim Nye.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings and electronic records with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Performance art  Search this
Art -- Study and teaching -- New York (State) -- New York  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Photographs
Video recordings
Citation:
Thread Waxing Space records, 1980s-2001, bulk 1991-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.threwaxs
See more items in:
Thread Waxing Space records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96650b559-383c-4835-8c59-1d9a84e52827
EDAN-URL:
ead_collection:sova-aaa-threwaxs
Online Media:

Sidney Janis Gallery exhibition catalogs

Creator:
Sidney Janis Gallery  Search this
Janis, Sidney, 1896-1989  Search this
Extent:
2.8 Linear feet
Type:
Collection descriptions
Archival materials
Exhibition catalogs
Date:
1951-1998
Summary:
The Sidney Janis Gallery exhibition catalogs measure 2.8 linear feet and date from 1951 to 1998. Found here is a complete set of catalogs published by the New York gallery.
Scope and Contents:
The Sidney Janis Gallery exhibition catalogs measure 2.8 linear feet and date from 1951 to 1998. Found here is a complete set of catalogs published by the New York gallery.

Researchers should note that this collection only includes published catalogs and not related exhibition documentation. The gallery did not publish a catalog for every exhibition, especially during the early years of the gallery's operation.
Arrangement:
This collection has been arranged into one series.

Series 1: Exhibition Catalogs, 1951-1998 (Boxes 1-7; 2.8 linear feet)
Biographical / Historical:
Sidney Janis Gallery (est. 1948-1999) was an art gallery in New York, N.Y., specializing in contemporary avant-garde art. Sidney Janis opened the gallery with his wife Harriet at 15 E. 57th Street in Manhattan. The gallery became a leading exhibitor of Pop art after the groundbreaking exhibition New Realists in 1962. The gallery moved to 110 W. 57th Street in the 1980s, and after Janis's death in 1989 the gallery was directed by his son, Carroll Janis.
Related Materials:
Also found at the Archives of American Art are two oral history interviews with Sidney Janis. One interview conducted March 21-September 26, 1972, by Paul Cummings, and one interview conducted on October 15 and November 18, 1981, by Avis Berman.
Provenance:
The collection was donated in 1999 by Carroll Janis, son of Sidney Janis.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Exhibition catalogs
Citation:
Sidney Janis Gallery exhibition catalogs, 1951-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sidnjani
See more items in:
Sidney Janis Gallery exhibition catalogs
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw976c5255f-57d0-404e-8b3e-b5e5fa1c55b5
EDAN-URL:
ead_collection:sova-aaa-sidnjani
Online Media:

Hundred Acres gallery records

Creator:
Hundred Acres gallery  Search this
Names:
Eversley, Frederick  Search this
Haas, Richard, 1936-  Search this
Karp, Ivan C., 1926-2012  Search this
Paschke, Ed  Search this
Porter, Liliana, 1941-  Search this
Extent:
3.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1969-1977
Summary:
The records of New York City gallery Hundred Acres measure 3.2 linear feet and date from 1969 to 1977. The collection contains files documenting the activities of artists such as John Baeder, Nancy Blanchard, Frederick John Eversley, John Fekner, Richard Haas, Eleanor Hubbard, Stevan Jennis, Noel Mahaffey, Ed Paschke, Liliana Porter, and Mark Wilson. Also included are gallery files consisting of administrative records, sales and inventory records, correspondence, exhibition files, and a file regarding the Radical Realism I print portfolio.
Scope and Contents:
The records of New York City gallery Hundred Acres measure 3.2 linear feet and date from 1969 to 1977. The collection contains files documenting the activities of artists such as John Baeder, Nancy Blanchard, Frederick John Eversley, John Fekner, Richard Haas, Eleanor Hubbard, Stevan Jennis, Noel Mahaffey, Ed Paschke, Liliana Porter, and Mark Wilson. Also included are gallery files consisting of administrative records, sales and inventory records, correspondence, exhibition files, and a file regarding the Radical Realism I print portfolio.
Arrangement:
The collection is arranged as two series.

Series 1: Artist's Files, 1969-1977 (1.8 linear feet; Boxes 1-2)

Series 2: Gallery Files, 1970-1977 (1.4 linear feet; Boxes 2-4)
Biographical / Historical:
The Hundred Acres gallery was an art gallery owned by Ivan Karp (1926-2012) located in New York City. Karp, known for his support of the Pop art movement, was director of the Castelli Gallery before opening Hundred Acres. He was also the owner of the O.K. Harris gallery that operated across the street from Hundred Acres gallery.

Hundred Acres gallery was in operation through most of the 1970s and represented contemporary artists including John Baeder, Shirley Pettibone, Liliana Porter, Mark Wilson, and numerous others. The gallery held group shows, the exhibition Judy and Adrienne - Two Lives (1973), and published Radical Realism I, a portfolio of lithographic prints by artists such as Richard Estes and Ralph Goings.
Related Materials:
Also found at the Archives of American Art are the Ivan C. Karp papers and OK Harris Works of Art gallery records, 1960-2014.
Provenance:
The Hundred Acres gallery records were donated by Ivan Karp, owner and director of the gallery, in 1982.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Function:
Art galleries, Commercial -- New York (State)
Citation:
Hundred Acres gallery records, 1969-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hundacre
See more items in:
Hundred Acres gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ca569a9a-4d3d-431d-8fb4-8e8f541064ee
EDAN-URL:
ead_collection:sova-aaa-hundacre
Online Media:

Henry Ward Ranger Estate papers

Creator:
Ranger, Henry Ward, 1858-1916  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Date:
1888-circa 1999
bulk 1904-1954
Summary:
The estate papers of New York tonalist painter Henry Ward Ranger, measure one linear foot and date from 1888-circa 1999, with the bulk of the material dating from 1904-1954.The collection primarily documents the settlement of Ranger's contested will and the administration of his estate, but also provides scattered biographical information on Ranger's life, provenance information about his work, and documentation of the significance of his estate gift to the National Academy of Design. Records include appraisal information including an estate ledger, correspondence and memoranda including two letters from Ranger, court documents, financial and real estate records, news clippings, and two photographs and eight negatives of Ranger.
Scope and Contents:
The estate papers of New York tonalist painter Henry Ward Ranger, measure one linear foot and date from 1888-circa 1999, with the bulk of the material dating from 1904-1954.The collection primarily documents the settlement of Ranger's contested will and the administration of his estate, but also provides scattered biographical information on Ranger's life, provenance information about his work, and the significance of his estate gift to the National Academy of Design. Records include appraisal information including an estate ledger, correspondence and memoranda including two letters from Ranger, court documents, financial and real estate records, news clippings, and two photographs and six negatives of Ranger.

Series 1 documents the appraisal, administration, and distribution of Ranger's estate by the National Academy of Design. The bulk of the material comprises appraisal records, including an appraisal of Ranger's Noank studio by William Macbeth; correspondence and agreements with museums and other art institutions that received artwork purchased by the Ranger fund, including the Brooks Memorial Art Gallery, Des Moines Association of Fine Arts, Fine Arts Society of San Diego, Museum of Fine Arts , Houston, Oberlin College, and others; and financial records documenting assets and liabilities, including cancelled checks, receipts, investment and tax records, and records documenting real estate investments that contributed to the estate. Also found is a folder of personal papers, including two letters from Ranger, and a photograph and six negatives of Ranger, and a folder of nine letters from Ranger family members.

Series 2 primarily comprises court documents and legal counsel notes and correspondence related to the litigation of Ranger's will, and the process of proving the the legitimacy of Ranger's original will and the fraudulence of the will presented by Edith Ranger's lawyers.
Arrangement:
The collection is arranged as two series.

Series 1: Henry Ward Ranger Estate, 1888-circa 1999 (0.95 linear feet; Boxes 1, 4)

Series 2: Settlement of Will, 1907-1920 (1.05 linear feet; Boxes 1-3)
Biographical / Historical:
Tonalist landscape and marine painter, Henry Ward Ranger (1858-1916), became a full academician of the National Academy of Design in 1906 and bequeathed his entire residuary estate to the academy. The investment of this substantial gift of nearly $400,000, known as the Ranger fund, would provide for the purchase of paintings by living American artists, which were distributed or accessioned by the Smithsonian Institution's then National Collection of Fine Arts.

Ranger was born in western New York State and attended Syracuse University for two years before opening a studio in New York City in the mid-1880s. He traveled to Europe and lived in the Netherlands for several years, where he was influenced by the Dutch watercolorists and the Barbizon masters. Ranger was known for his experiments with pigments and colors, his interiors of forests, and marine views of the shoreline in Connecticut, where he spent summers and helped to establish the artist colony in Old Lyme. He further divided his time between a country studio in Noank, Connecticut, his studio in the city, and trips to Puerto Rico and Jamaica in the winter months.

Following his death in 1916, Ranger's will was probated and involved in costly litigation for two years due to the presentation of another will asserting Ranger's sister, Edith, as the beneficiary. The second will was proven to be false and the Ranger fund went on to make a significant contribution to the Smithsonian's collection of American art, allowing the institution to ultimately claim sixty-six of the paintings purchased by the fund and amass a collection which represented popular academic tastes in American art over more than half a century.
Provenance:
The papers were donated to the Archives of American Art by the National Academy of Design in 2018.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Citation:
Henry Ward Ranger estate papers, 1888-circa 1999, bulk 1904-1954. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ranghenr
See more items in:
Henry Ward Ranger Estate papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9933106c4-fb10-4df5-81da-e6106878ea4f
EDAN-URL:
ead_collection:sova-aaa-ranghenr
Online Media:

H. Wunderlich & Company and Kennedy & Company stock books

Creator:
H. Wunderlich & Company  Search this
Names:
Kennedy & Company  Search this
Wunderlich, Hermann, d. 1892  Search this
Extent:
2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1879-1915
Summary:
The H. Wunderlich & Company and Kennedy & Company stock books measure 2.0 linear feet and date from 1879-1915. The collection consists of twenty-two stock inventory books providing information on the types and sales of art handled by H. Wunderlich & Company, including one volume, 1915, of its successor, Kennedy & Company. Also included is a consignment book recording transactions with Gustav Lauser, C.W. Kraushaar, Francis Seymour Hayden, Albert Rosenthal, and others.
Scope and Contents:
The H. Wunderlich & Company and Kennedy & Company stock books measure 2.0 linear feet and date from 1879-1915. The collection consists of twenty-two stock inventory books providing information on the types and sales of art handled by H. Wunderlich & Company, and one volume, 1915, of its successor, Kennedy & Company. Also included is a consignment book recording transactions with Gustav Lauser, C.W. Kraushaar, Francis Seymour Hayden, Albert Rosenthal, and others.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.

Series 1: Stock Books, 1879-1915
Biographical / Historical:
H. Wunderlich & Company was a print gallery based in New York, N.Y., founded in 1874 by Hermann Wunderlich. After his death in 1892, his partner, Edward Kennedy took over, and in 1912 the name changed to Kennedy & Company (and in 1952 to Kennedy Galleries). H. Wunderlich & Company handled primarily fashionable prints, Old Master prints and a few of prints of contemporary artists, such as James McNeil Whistler, David Cameron, and Francis Seymour Hayden.
Provenance:
The H. Wunderlich & Company and Kennedy & Company stock books were donated in 1989 by Gerold M. Wunderlich, great-grandson of the gallery's founder Hermann Wunderlich, founder of H. Wunderlich and Kennedy & Company, and Kennedy Galleries, Inc.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Prints, American  Search this
Prints -- 19th century  Search this
Prints -- 20th century  Search this
Function:
Art galleries, Commercial -- New York (State)
Citation:
H. Wunderlich & Company and Kennedy & Company stock books, 1879-1915. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hwundcom
See more items in:
H. Wunderlich & Company and Kennedy & Company stock books
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw981bab15e-880b-4a40-af46-cc6f415aa159
EDAN-URL:
ead_collection:sova-aaa-hwundcom
Online Media:

Guy Pène Du Bois papers

Creator:
Pène Du Bois, Guy, 1884-1958  Search this
Names:
C.W. Kraushaar Art Galleries  Search this
Cortissoz, Royal, 1869-1948  Search this
Hopper, Edward, 1882-1967  Search this
McCoy, Samuel Duff, 1882-  Search this
Pène du Bois, William, 1916-1993  Search this
Soyer, Raphael, 1899-1987  Search this
Tarkington, Booth, 1869-1946  Search this
Extent:
2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Prints
Sketches
Date:
circa 1900-1963
bulk 1920-1963
Summary:
The papers of painter and art critic Guy Pène Du Bois measure 2.0 linear feet and date from circa 1900 to 1963 with the bulk of the materials dating from 1920 to 1963. Found within the papers are biographical material; personal and professional correspondence, including letters from Royal Cortissoz and Edward Hopper; writings, including essays, journals, short stories, and drafts of the autobiography Artists Say the Silliest Things; personal business records; printed material; and artwork.
Scope and Contents:
The papers of painter and art critic Guy Pène Du Bois measure 2.0 linear feet and date from circa 1900 to 1963 with the bulk of the materials dating from 1920 to 1963. Found within the papers are biographical material; personal and professional correspondence, including letters from Royal Cortissoz and Edward Hopper; writings, including essays, journals, short stories, and drafts of the autobiography Artists Say the Silliest Things; personal business records; printed material; and artwork.

Biographical materials consist of certificates, a curriculum vitae, passport, and a photograph of two unidentified women.

Correspondence is primarily with Pène Du Bois' family, friends, and business associates. The series includes significant correspondence from fellow art critic Royal Cortissoz; artists Raphael Soyer and Edward Hopper; and writers Samuel Duff McCoy, Lincoln Isham, and Newton Booth Tarkington. Other correspondents of note include C.W. Kraushaar Art Galleries and Pène Du Bois' son, the children's book illustrator William Pène Du Bois.

Writings include book drafts of Pène Du Bois' autobiography, Artists Say the Silliest Things, journal entries, 35 essays, 8 short stories, and various writing fragments and notes.

Personal business records consist of account and sales records from C.W. Kraushaar Art Galleries, book and publishing contracts, and receipts for art supply purchases.

Printed material includes a brochure for the Guy Pène Du Bois School of Art, clippings, exhibition announcements and catalogs, and miscellaneous printed material.

Artwork consists of pen and ink sketches by Pène Du Bois and a print by an unknown artist.
Arrangement:
The collection is arranged as 6 series.

Missing Title

Biographical material, 1929-1954 (4 folders; Box 1)

Correspondence, 1908-1958 (0.5 linear feet; Box 1)

Writings, circa 1900-1954 (1.1 linear feet; Box 1-4)

Personal business records, circa 1920-1949 (3 folders; Box 3)

Printed material, circa 1920-1963 (0.3 linear feet; Box 3)

Artwork, circa 1920-1954 (2 folders; Box 3)
Biographical / Historical:
Painter and art critic Guy Pène Du Bois (1884-1958) lived and worked in New York City, New York and was known for his realist paintings, essays, and art reviews.

Pène Du Bois was born in Brooklyn, New York to the art critic Henri Pène Du Bois and his wife Laura. After he showed an early interest in art, his' family supported his decision to enroll in William Merritt Chase's New York School of Art at the age of 15. There, Pène Du Bois trained with the realist painters Robert Henri and Kenneth Hayes Miller along with fellow students George Bellows, Edward Hopper, and Rockwell Kent. In 1905, he traveled to Paris and studied briefly with the artist Thèophile Steinlen, but returned to New York the following year after the death of his father. To help support his family, he found work as an illustrator and cartoonist for the New York American, and was promoted to the position of art critic for the newspaper in 1909.

In 1911, Pène Du Bois married his wife, Florence Duncan, and became an assistant writer for the New York Tribune under Royal Cortissoz (1913). Pène Du Bois also wrote art reviews for the New York Post (1916-1918), and was a writer and later editor of Arts and Decoration (1913-1915, 1917-1921). During these years, Pène Du Bois also began to establish a career as a realist painter of note. His work was included in the 1913 Armory Show, after which he signed on as a member of the Kraushaar Gallery stable. Throughout the 1910s, Pène Du Bois exhibited in numerous galleries and museums, and held his first one-man show in 1918 at the Whitney Studio Club.

From 1920 to 1924, Pène Du Bois taught at the Art Students League, and spent the latter part of the 1920s in France with his family. After seven years, he moved his family back to Connecticut and opened the Guy Pène Du Bois School of Art in Stonington, Connecticut. Throughout the 1930s, Pène Du Bois continued painting and received commissions to design federal murals in upstate New York (1937) and Boston (1942). In 1940, Pène Du Bois published his autobiography, Artists Say the Silliest Things. After the death of his wife in 1950, Pène Du Bois lived and traveled with his daughter's family and died in her home in Boston in 1958.
Related Materials:
The Archives also holds the Guy Pène Du Bois and Mary Lightfoot Tarleton correspondence.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reel 28) including sketches and etching proofs. Lent material was returned to the lender and is not described in the collection container inventory.
Provenance:
Sketches and etching proofs were lent to the Archives of American Art in 1970 for microfilming by Pène du Bois' children, Yvonne McKenney and William Pène du Bois. Yvonne McKenney donated papers in 1971. In 1980, two journals dating from 1913 to 1955, were loaned for microfilming by Pène du Bois' daughter-in-law, Willa Kim. These journals were subsequently donated by Martha Fleishman in 2017.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art critics -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Painting, American -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Prints
Sketches
Citation:
Guy Pène Du Bois papers, circa 1900-1963, bulk 1920-1963. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.duboguyp
See more items in:
Guy Pène Du Bois papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97572fde2-20b1-4c2d-888b-9056094d425e
EDAN-URL:
ead_collection:sova-aaa-duboguyp
Online Media:

The ACA Galleries records

Creator:
ACA Galleries  Search this
Names:
American Contemporary Art Gallery  Search this
Abbott, Berenice, 1898-1991  Search this
Baron, Herman, 1892-1961  Search this
Burliuk, David, 1882-1967  Search this
Cahill, Holger, 1887-1960  Search this
Dondero, George A. (George Anthony), 1883-1968  Search this
Evergood, Philip, 1901-1973  Search this
Gropper, William, 1897-1977  Search this
Gwathmey, Robert, 1903-1988  Search this
Hirsch, Joseph, 1910-1981  Search this
McCausland, Elizabeth, 1899-1965  Search this
Mumford, Lewis, 1895-1990  Search this
Olds, Elizabeth, 1896-1991  Search this
Pickens, Alton  Search this
Refregier, Anton, 1905-  Search this
Soyer, Moses, 1899-1974  Search this
Soyer, Raphael, 1899-1987  Search this
Valente, Alfredo  Search this
Weber, Max, 1881-1961  Search this
Young, Art, 1866-1943  Search this
Photographer:
Newman, Arnold, 1918-2006  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Writings
Photographs
Date:
1917-1963
Summary:
The scattered records of the ACA (American Contemporary Art) Galleries date from 1917 through 1963 and include writings by founder Herman Baron, artists Philip Evergood and Anton Refregier, and art critic Elizabeth McCausland; printed materials; and photographs of Baron, ACA artists, art collectors, works of art, and exhibitions. Correspondence is with David Burliuk, Philip Evergood, William Gropper, Lewis Mumford, Moses Sawyer, Max Weber, and others. Also found is a small group of Herman Baron's personal papers.
Scope and Content Note:
The scattered records of the ACA (American Contemporary Art) Galleries date from 1917 through 1963 and include writings by founder Herman Baron, artists Philip Evergood and Anton Refregier, and art critic Elizabeth McCausland; printed materials; and photographs of Baron, ACA artists, art collectors, works of art, and exhibitions. Correspondence is with David Burliuk, Philip Evergood, William Gropper, Lewis Mumford, Moses Sawyer, Max Weber, and others. Also found is a small group of Herman Baron's personal papers.

The records are a rich resource for documenting the Social Realist artists and the militant socialist artists during the great depression and the post-World War II era of "McCarthyism".

Correspondence with ACA artists consists of letters from Philip Evergood, David Burliuk, William Gropper, Robert Gwathmey, Joseph Hirsch, Lewis Mumford, Elizabeth Olds, Alton Pickens, Moses Soyer, Max Weber, and Art Young. Some of the letters concern the socialist and communist views of some of the artists, including responses to Congressional Representive George A. Dondero's public statements and attacks on modern art as a conspiracy to spread communism in the United States. There is a letter written by Holger Cahill to the editor of Time magazine concerning WPA artists. Also found is a letter from Raphael Soyer written to the ACA Galleries concerning the American Artists' Congress.

Writings include Herman Baron's written history of the ACA Galleries and scattered pages of Baron's book on Joe Jones and William Gropper. There are essays and writings by art critic Elizabeth McCausland, and artists Anton Refregier and Philip Evergood. Printed materials consist of ACA publications, newspaper clippings, published articles, printed illustrations by Philip Evergood, and printed materials about Congressman Dondero.

Photographs are of David Burliuk, Bruce Calder, Nicolai Cikovsky, Hy Cohen, Robert Cronbach, Alexander Dobkin, Philip Evergood, Mike Gold, Chaim Gross, William Gropper, Joe Jones, Mervin Jules, Irene Rice Pereia, Geri Pine, Philip Reisman, Vic Shifreen, Harry Sternberg, Moses Soyer, Raphael Soyer, James Baare Turnbull, Nicky Walker, Abraham Walkowitz, Nat Werner, and Art Young. Photographers include Berenice Abbott, Arnold Newman, and Alfredo Valente. Additional photographs are of unidentified installations or exhibitions.

Herman Baron's personal papers include letters written to his wife and friends during World War I, writings by Baron for various magazines including Glazier's Journal. Personal photographs are of Herman Baron in his army uniform. There is also an obituary for Herman Baron written by art critic Elizabeth McCausland.
Arrangement:
The collection is arranged as 5 series:

Missing Title

Series 1: Correspondence, circa 1930s-1960s (Box 1; 0.25 linear feet)

Series 2: Writings and Notes, 1938-circa 1960s (Box 1; 8 folders)

Series 3: Printed Material, 1939-1960 (Box 2; 4 folders)

Series 4: Photographs, circa 1930s-circa 1960s (Box 2; 0.25 linear feet)

Series 5: Herman Baron Personal Papers, circa 1910s, 1940s-1960s (Box 2-3; 0.3 linear feet)
Historical Note:
Herman Baron, Stuart Davis, Yasuo Kuniyoshi, and Adolf Dehn founded the American Contemporary Art (ACA) Galleries on August 16, 1932. Located at 1269 Madison Avenue in New York City, the galleries' first show featured watercolorist Hy Cohen. Baron encouraged freedom of expression and did not censor the artworks displayed in his gallery. As a result, the gallery became an outlet for generally unknown and socially conscious artists, including the Social Realists.

Born in Lithuania in 1892, Herman Baron immigrated to the United States as a child. He served in World War I and later attended New York University. Baron founded and edited Glazier's Journal (later Glass Digest) in 1924 as the first journal for the professional glazing trade. Additionally, he wrote short stories and plays for American Hebrew and Young Israel.

In response to economic issues facing the art market during the depresssion of 1930s, ACA Galleries organized relief efforts to financially support their artists. During this period, the gallery became closely allied with militant artists' organizations and some of the more politically radical artists. In 1935, the ACA Galleries and Herman Baron hosted the first meeting of the American Artists' Congress in the gallery space.

The ACA Galleries featured exhibitions of works by artists David Burliuk, Stuart Davis, Philip Evergood, William Gropper, Robert Gwathmey, Joe Jones, Rockwell Kent, Lee Krasner, Yasuo Kuniyoshi, Lewis Mumford, Louise Nevelson, Alton Pickens, Moses Soyer, Raphael Soyer, Max Weber, Art Young, and others. Baron also organized exhibitions of many artists employed by or associated with the Works Progress Administration of the federal arts program. Due to the progressive nature of the works of art found in the ACA Galleries, Herman Baron came under considerable criticism during the McCarthy Era. Baron was condemned by Representative George A. Dondero for supporting "un-American" sympathies and was forced often to defend his gallery and artists.

For years the gallery focused on artists rights and supporting the work of artists, rather than a profit. In the 1950s, a shift occurred when Baron's nephew Sidney Bergen initiated professional business practices and transformed the gallery into a profitable venture. Now located at 529 West 20th Street in New York City, ACA Galleries continues to promote and support various social causes.
Related Material:
The Archives of American Art holds the Herman Baron papers, dating from 1937-1967 which were donated by Syracuse University, George Arents Research Library in 1984. Some exhibition catalogs may be found here.
Provenance:
Ella Baron, widow of the ACA Galleries' founder Herman Baron, donated the records to the Archives of American Art in 1965 and 1966.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art, American  Search this
World War, 1914-1918  Search this
Politics in art  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Writings
Photographs
Citation:
ACA Galleries records, 1917-1963. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.acagall
See more items in:
The ACA Galleries records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97838f702-80fc-493a-940a-86b9373c8141
EDAN-URL:
ead_collection:sova-aaa-acagall
Online Media:

Anna Walinska papers

Creator:
Walinska, Anna  Search this
Names:
Guild Art Gallery  Search this
Avery, Milton, 1885-1965  Search this
Beata, Welsing  Search this
Hacohen, Bracha  Search this
Littlefield, William Horace, 1902-1969  Search this
Nevelson, Louise, 1899-1988  Search this
Walinsky, Louis Joseph, 1908-2001  Search this
Extent:
2.1 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Interviews
Photographs
Scrapbooks
Sketchbooks
Sketches
Transcripts
Travel diaries
Place:
Europe -- description and travel
Israel -- Description and Travel
Date:
1927-2002
bulk 1935-1980
Summary:
The papers of New York-based painter, teacher and art director Anna Walinska measure 2.1 linear feet and date from 1927 to 2002, with the bulk of material from 1935 to 1980. The papers include biographical material, correspondence, writings, travel diaries, printed material, scrapbooks, artwork, sketchbooks, and photographs.
Scope and Contents:
The papers of New York-based painter, teacher and art director Anna Walinska measure 2.1 linear feet and date from 1927 to 2002, with the bulk of material from 1935 to 1980. The papers include biographical material, correspondence, writings, travel diaries, printed material, scrapbooks, artwork, sketchbooks, and photographs.

Biographical material consists of awards, certificates, curriculum vitae, biographical outlines, exhibition lists, passports and other material. There is a partial transcript from a radio interview of Anna Walinska. Also included are limited financial records.

Correspondence includes Anna Walinska's letters to her family from her 1954-1955 trip abroad to multiple countries in Asia, the Middle East, and Europe. There is personal and professional correspondence with friends, artists and art institutions. Notable correspondents include Milton Avery, Louise Nevelson, Beata Welsing, Bracha Hacohen, William Littlefield, and Walinska's brother Louis Walinsky.

Writings consist of Walinska's notes, notebooks, lectures, essays, and a handwritten prospectus for Guild Art Gallery. There is one folder of writings by others about Walinska at the end of the series. There are four travel diaries that describe Walinska's trip around the world from 1954-1955, during which she traveled to many countries, and later trips to locations such as Israel and Trinidad.

Printed Material include clippings about Anna Walinska, group and solo exhibition catalogs, announcements, event invitations, and course catalogs for the Master Institute of United Art in New York City, where Walinska taught painting and drawing classes.

There are three scrapbooks: one scrapbook is about Guild Art Gallery, the second scrapbook is about the Holocaust exhibition, the third oversized scrapbook documents Walinska's career and activities overall.

Artwork consists of two bound sketchbooks as well as drawings and sketches in a variety of mediums from pencil and ink to watercolors and oils.

Photographs are of Walinska, friends, family, artists, artwork, exhibition installations, and other subjects. One album includes photos of Anna Walinska and her travels, along with images of friends and colleagues. The second album includes photographs of Walinska's solo exhibition at Sunken Meadow Gallery (1959). There is also one folder of photocopies of photos of assorted artwork by Walinska.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Material, 1927-2002 (Box 1; 11 folders)

Series 2: Correspondence, 1949-1995 (Box 1; 0.4 linear feet)

Series 3: Writings, circa 1935-circa 1983 (Box 1; 8 folders)

Series 4: Travel Diaries, 1954-1973 (Box 1; 0.2 linear feet)

Series 5: Printed Material, 1942-2002 (Boxes 1-2; 0.4 linear feet)

Series 6: Scrapbooks, circa 1929-1980 (Boxes 2, 4; 0.5 linear feet)

Series 7: Artwork, circa 1929-1963 (Box 3; 5 folders)

Series 8: Photographs, circa 1932-1980 (Box 3; 0.3 linear feet)
Biographical / Historical:
Anna Walinska (1906-1997) was a New York artist, teacher and gallery director who traveled widely and is most well known for her paintings related to the subject of the Holocaust.

Anna Walinska was born in London, England in 1906 to labor organization leader Ossip Walinsky and poet Rosa Newman Walinska. She had two siblings, Emily and Louis. The family immigrated to New York City in 1914, and Anna Walinska began studying at the Art Students League in 1918. In 1926, she travelled to Paris and studied art at the Academie de Grande Chaumier with Andre L'Hote. France was her primary residence until 1930.

In 1935, Walinska and artist Margaret Lefranc co-founded the Guild Art Gallery at West 57th Street in New York and gave Arshile Gorky his first solo exhibition in the city. The gallery closed its doors in 1937. In 1939, Walinska was the Assistant Creative Director of the Contemporary Art Pavilion at the New York World's Fair. During this time, Walinska also pursued her own art and exhibited work in numerous group shows.

From 1954 to 1955, Walinska traveled around the world, visiting the capitals and major cities of many countries in Asia, the Middle East and Europe. Places she went included Japan, Burma (now known as Myanmar), Pakistan, Greece, Italy, France and Spain. During her four month stay in Burma, she painted a portrait of Prime Minister U Nu and she later became a highly respected portrait artist who painted numerous illustrious subjects such as First Lady Eleanor Roosevelt, artists Louise Nevelson and Mark Rothko, and many others.

In 1957, Walinska became the artist-in-residence at the Riverside Museum where she also taught and exhibited with other artists. That same year, she had her first retrospective at the Jewish Museum in New York City.

Walinska exhibited widely and often. Holocaust: Paintings and Drawings, 1953-1978, which opened at the Museum of Religious Art at the Cathedral of St. John the Divine in New York City, is probably the most well-known of her exhibitions and it traveled across the country to several other sites such as the War Memorial Building in Baltimore and Mercy College of Detroit. Works from this exhibition were acquired by multiple museums to become part of their permanent collections.

Walinkska died on December 19, 1997 at the age of 91 in New York City. In 1999, there was a retrospective of her work titled Echoes of the Holocaust: Paintings, Drawings, and Collage, 1940-1989 held at Clark University's Center for Holocaust Studies. The Onisaburo Gallery at New York's Interfaith Center also held a solo exhibition titled Portraits of Faith (2000). Her art is part of the collections at the Denver Art Museum, National Portrait Gallery, National Museum of Women in the Arts, the Rose Art Museum, and other museums.
Related Materials:
The Archives of American Art also has the Guild Art Gallery records, which consists of material related to the gallery that was co-founded by Anna Walinska.
Provenance:
The papers were donated by Anna Walinska in two installations in 1976 and 1981. Rosina Rubin, Anna Walinska's niece, made a third donation of material in 2017.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., research center.
Occupation:
Gallery directors -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Drawing--Study and teaching  Search this
Holocaust, Jewish (1939-1945), in art  Search this
Painting -- New York (State) -- New York  Search this
Asia--Description and travel  Search this
Middle East--Description and travel  Search this
Trinidad and Tobago--Description and travel  Search this
Women painters  Search this
Women artists  Search this
Women educators  Search this
Genre/Form:
Drawings
Interviews
Photographs
Scrapbooks
Sketchbooks
Sketches
Transcripts
Travel diaries
Citation:
Anna Walinska papers, 1927-2002, bulk 1935-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.walianna
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Anna Walinska papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9995d1f6a-668f-4e1e-8abe-bb24edfb016b
EDAN-URL:
ead_collection:sova-aaa-walianna
Online Media:

Agnes Rindge Claflin papers concerning Alexander Calder

Creator:
Claflin, Agnes Rindge, 1900-1977  Search this
Names:
Vassar College  Search this
Calder, Alexander, 1898-1976  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Postcards
Manuscripts
Photographs
Illustrated letters
Date:
1936-circa 1970s
Summary:
The papers of arts administrator, collector, and educator Agnes Rindge Claflin concerning Alexander Calder measure 0.2 linear feet and date from 1936-circa 1970s. Included are five letters, two of which are illustrated, and one postcard from Alexander Calder to Claflin; two handwritten manuscripts by Calder, one untitled and "A Propos of Measuring a Mobile," 1943; an invitation to a Calder exhibition at Galerie Maeght, Paris, 1952; and 14 photographs of Calder, of Calder and Claflin in Calder's studio, of Calder's art work, and of a Calder exhibition installation at Vassar Art Gallery, 1942. Transcriptions of three of the letters and both manuscripts are also included.
Scope and Content Note:
The papers of arts administrator, collector, and educator Agnes Rindge Claflin concerning Alexander Calder measure 0.2 linear feet and date from 1936-circa 1970s. Included are five letters and one postcard from Alexander Calder to Claflin, two of which are illustrated; two handwritten manuscripts by Calder, one untitled and "A Propos of Measuring a Mobile," 1943; an invitation to a Calder exhibition at Galerie Maeght, Paris, 1952; and 14 photographs of Calder, of Calder and Claflin in Calder's studio, of Calder's art work, and of a Calder exhibition installation at Vassar Art Gallery, 1942. One photograph depicting an event is possibly the opening of the Calder exhibition at Vassar Art Gallery, 1942. Also included are two polaroid photographs most likely from the 1970s. Transcriptions of three of the letters and both manuscripts are also included.
Arrangement:
Due to the small size of the collection, items are organized into one series of 23 folders:

Missing Title

Series 1: Agnes Rindge Claflin Papers Concerning Alexander Calder, 1936-circa 1970s (Box 1; 23 folders)
Biographical Note:
Agnes Rindge Claflin (1900-1977) was an arts administrator, collector, and educator who spent the majority of her career at Vassar College as a professor and serving as director of its art gallery for 28 years.

Claflin was born Agnes Millicent Rindge in Grand Rapids, Michigan on May 19, 1900. She graduated from the Madeira School in 1917, attended Mount Holyoke College for two years, and graduated magna cum laude from Radcliffe College. Afterwards, Claflin briefly taught at Vassar College before returning to Radcliffe and earning her M.A. and Ph.D. She rejoined the Vassar College faculty in 1928 and served as the director of the Vassar Art Gallery from 1934-1962. Claflin published Sculpture in 1929 and in the 1930s she began writing articles for several different publications. At the request of Alfred Barr, she joined the Advisory Committee for the Museum of Modern Art in 1941 and became the Assistant Executive Vice President from 1943-1944. Claflin held a number of other positions in art organizations such as the Commission on Arts of the American Association of Colleges (1939), Art in America (1940-1943), Art Division of the Coordinator of Inter-American Affairs (1941-1942), American Federation of Arts (1944-1945), and Committee on Fellowships of the College Art Association (1945-1948). She married Philip W. Claflin, a captain in the U.S. Army, in 1945. Throughout her career, Claflin lectured at organizations and universities across the United States, including the Chicago Art Institute, Columbia University, New York University, Yale University, and many others. Agnes Claflin died on June 12, 1977.

Claflin and Calder were colleagues and friends. In 1942, the Vassar Art Gallery hosted a Calder exhibition installation. The following year, Claflin wrote and narrated a short film, "Alexander Calder: Sculpture and Constructions," which was presented with the Museum of Modern Art's Calder exhibition of the same year.
Related Material:
The Archives of American Art holds several collections related to the Agnes Rindge Claflin papers concerning Alexander Calder, including the Alexander Calder papers which have been fully digitized; Alexander Calder letters and photographs microfilmed on reel 4781; Alexander Calder letter microfilmed on reel 2787, frames 963-970; and an oral history interview with Alexander Calder, October 26, 1971, available as a transcript online.
Provenance:
The collection was donated in 1981 by Philip W. Claflin, widower of Agnes Rindge Claflin.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Collectors -- New York (State) -- Poughkeepsie  Search this
Arts administrators -- New York (State)  Search this
Educators -- New York (State)  Search this
Topic:
Art -- Collectors and collecting  Search this
Women arts administrators  Search this
Women educators  Search this
Mobiles (Sculpture)  Search this
Genre/Form:
Postcards
Manuscripts
Photographs
Illustrated letters
Citation:
Agnes Rindge Claflin papers concerning Alexander Calder, 1936-circa 1970s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.clafagne
See more items in:
Agnes Rindge Claflin papers concerning Alexander Calder
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c01f75be-8fac-4a5c-827f-756c746e39b1
EDAN-URL:
ead_collection:sova-aaa-clafagne
Online Media:

Correspondence

Collection Creator:
Schmidt, Katherine, 1898-1978  Search this
Container:
Box 1, Folder 2
Type:
Archival materials
Date:
1944-1950
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Katherine Schmidt papers, circa 1922-1971. Archives of American Art, Smithsonian Institution.
See more items in:
Katherine Schmidt papers
Katherine Schmidt papers / Series 1: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9704f90d1-3751-4871-b311-f214c013bbc1
EDAN-URL:
ead_component:sova-aaa-schmkath-ref17
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  • View Correspondence digital asset number 2
  • View Correspondence digital asset number 3

General Correspondence

Collection Creator:
Casas, Mel, 1929-2014  Search this
Container:
Box 1, Folder 7
Type:
Archival materials
Date:
1988
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Mel Casas papers
Mel Casas papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96f33bf53-c00c-4d14-83db-48a66e1c8534
EDAN-URL:
ead_component:sova-aaa-casamel-ref11
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  • View General Correspondence digital asset number 1

Exhibition Announcements and Catalogs

Collection Creator:
Casas, Mel, 1929-2014  Search this
Container:
Box 2, Folder 11
Type:
Archival materials
Date:
1990-1995
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Mel Casas papers
Mel Casas papers / Series 4: Printed Materials
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw902615a2c-67c5-46ad-882a-26e6144f6583
EDAN-URL:
ead_component:sova-aaa-casamel-ref48
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  • View Exhibition Announcements and Catalogs digital asset number 1

Ad Reinhardt papers

Creator:
Reinhardt, Ad, 1913-1967  Search this
Names:
Brooklyn College -- Faculty  Search this
United States. Works Progress Administration  Search this
Extent:
3.9 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1927-1968
Summary:
The papers of Ad Reinhardt measure 3.9 linear feet and date from circa 1927 to 1968. The collection documents Reinhardt's career as an abstract painter, cartoonist, and writer through biographical material, correspondence, writings, printed material, scrapbooks, and artwork.
Scope and Content Note:
The papers of Ad Reinhardt measure 3.9 linear feet and date from 1927 to 1968. The collection documents Reinhardt's career as an abstract painter, cartoonist, and writer through biographical material, correspondence, writings, printed material, scrapbooks, and artwork.

Biographical material includes personal and professional records, such as passports and membership cards as well as an artist's chronology, and material documenting Reinhardt's time at Brooklyn College and his work for the WPA. Correspondence is of a general nature, including letters from art galleries, museums, and art dealers about exhibitions and artwork, colleges and universities concerning lectures and workshops, and letters from friends, art critics, and fellow artists, including Lucy Lippard, Abe Ajay, and George Rickey. Also found are letters from magazines and various art and social organizations. Writings and notes include calendars, and a small amount of notes and draft writings by Reinhardt. Printed material comprises the largest series in the collection and contains exhibition materials, including invitations and catalogs, and a large number of magazine and news clippings, primarily about Reinhardt's career and modern art, but also covering other topics of interest to him, such as Asian art. Also found in this series are clippings of his published cartoons and artwork. Scrapbooks contain additional printed material documenting his high school and college days, as well as his career. as an artist. Also found within the papers is a small amount of artwork by Reinhardt, primarily small sketches.
Arrangement:
The collection is arranged into 6 series.

Missing Title

Series 1: Biographical Material, circa 1928-1967 (Box 1; 0.3 linear feet)

Series 2: Correspondence, circa 1930-1967 (Boxes 1-2; 1.1 linear feet)

Series 3: Writings and Notes, circa 1953-1966 (Box 2; 7 folders)

Series 4: Printed Material, circa 1927-1968 (Boxes 2-4; 1.7 linear feet)

Series 5: Scrapbooks, circa 1928-1959 (Boxes 4-5; 0.5 linear feet)

Series 6: Artwork, circa 1946, 1950, 1961 (Box 4; 4 folders)
Biographical Note:
Ad Reinhardt was born Adolph Dietrich Friedrich Reinhardt in 1913 in Buffalo, New York. Shortly after he was born, his family moved to Queens, New York. As a child he copied "funnies" and made collages from newspapers and won many school and community prizes for his artwork. In the fall of 1931 he entered Columbia University and studied art history under Meyer Schapiro, who encouraged him to get involved in radical campus politics. Reinhardt became the editor and cover designer of Jester, a campus magazine. After graduating in 1935, he trained as a painter at the National Academy of Design under Karl Anderson, and at the American Artists School under Francis Criss and Carl Holty, until 1937. At this time he joined American Abstract Artists and became affiliated with American artistic-political groups and other artist organizations. From 1936 to 1941 he worked for the Works Progress Administration (WPA) Federal Art Project, Easel Division, while simultaneously developing his mature style of linear, abstract painting.

When his work for the Federal Art Project ended, Reinhardt worked as a commercial and freelance writer and graphic artist for pamphlets and magazines. Most notably, he was a reporter and cartoonist for the newspaper PM from 1942 to 1947. After serving in the Navy from 1946 to 1947, he took a position as an art history professor at Brooklyn College where he taught for twenty years. During his career as a professor he was also a visiting lecturer at several universities, including Yale University from 1952 to 1953, and the California School of Fine Arts in 1950. Reinhardt had a keen interest in Asiatic art and would often lecture and write on this subject. In the late 1950s and early 1960s he traveled to Japan, India, Persia, Egypt, Turkey, Syria, and Jordan.

Reinhardt began exhibiting his paintings early in his career. In 1946 he joined the Betty Parsons Gallery, which also represented many other prominent Abstract Expressionists, including Mark Rothko, Barnet Newman, and Jackson Pollock. Reinhardt rejected the emotionalism found in Abstract Expressionism and sought to produce geometric, minimalist paintings. In developing his own aesthetic theory, he wrote extensively for art periodicals such as Art News and Art International. His artwork culminated in the 1960s with his series of black paintings, which drew much attention from the art community and the public. A major retrospective of his work was held at the Jewish Museum in New York, NY, in 1960. Reinhardt continued to write and work on his series of black paintings until his death in 1967.
Related Material:
Related collections found in the Archives includes Ad Reinhardt postcards (to Katherine Scrivener), Ad Reinhardt letters and artwork (loaned material, available on microfilm only), Abe Ajay correspondence with Ad Reinhardt, Marjorie Grimm printed material and letters received from Ad Reinhardt, one photograph of Ad Reinhardt and Colette Roberts by William R. Simmons, and a 1955 painting by Ad Reinhardt.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reels N69-99 - N69-103) including additional notes, writings, correspondence, photographs of artwork, and travel logs. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Rita Reinhardt, Ad Reinhardt's widow, donated papers and lent material for micorfilming in 1969.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Cartoonists -- New York (State) -- New York  Search this
Topic:
Works of art  Search this
Art, Modern  Search this
Authors -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Citation:
Ad Reinhardt papers, 1927-1968. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.reinad
See more items in:
Ad Reinhardt papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9399bd395-e18e-440b-8305-5be89bf7b6f3
EDAN-URL:
ead_collection:sova-aaa-reinad
Online Media:

Lorence-Monk Gallery records

Creator:
Lorence-Monk Gallery  Search this
Names:
Lorence, Susan  Search this
Monk, Robert  Search this
Extent:
3.4 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1961-1992
Summary:
The records of Lorence-Monk Gallery measure normal="1957"> and scrapbooks documenting approximately ninety exhibitions and over 250 American and European artists represented by the gallery from its opening in 1985 until it closed its operation in 1992.
Scope and Content Note:
The records of Lorence-Monk Gallery measure 3.4 linear feet and date from 1961-1992. The collection consists of exhibition files and scrapbooks documenting approximately ninety exhibitions and over 250 American and European artists represented by the Lorence-Monk Gallery from its opening in 1985 until it closed its operation in 1992.
Arrangement:
The collection is arranged into 2 series:

Series 1: Exhibition Files, 1961-1991 (Boxes 1-3; 2.2 linear feet)

Series 2: Exhibition Scrapbooks, 1985-1992 (Boxes 3-4; 1.2 linear feet)
Historical Note:
The Lorence-Monk Gallery, founded in 1985 by Susan Lorence and Robert Monk was located at 568-578 Broadway, in the SoHo section of New York City. Prior to establishing the gallery, Susan Lorence was the American Director of the Petersburg Press and Robert Monk was the Director of Castelli Graphics.

The Lorence-Monk Gallery promoted the work of contemporary and emerging artists, featuring a diverse selection of paintings, prints, sculptures, and photographs. The gallery held rotating exhibits organized by theme, individual artists, and group shows. Among the younger generation of artists represented by the gallery were: John Beerman, Jasper Johns, Jürgen Partenheimer, Alan Saret, Carole Seborovski, Alan Uglow, and Günter Umberg.

Beginning with its inaugural show "A Print Survey, 1960-1985," the Lorence-Monk Gallery became a major venue for the graphic arts, including lithographs, etchings, screenprints, and woodcuts. Exhibitions featured the work of prominent artists, many who had worked in other media, such as Richard Artschwager, David Hockney, Jasper Johns, Bruce Nauman, and Barnett Newman.

The gallery's exhibitions included sculpture and object installations, offering the works of Kim Jones, Laurie Parsons, Ursula von Rydingsvard, Sandy Skoglund, and others. The Lorence-Monk Gallery promoted independent publishers of prints, portfolios, and books, including Peter Blum Editions, Diane Villani Editions, and the Universal Limited Art Editions (ULAE). Several exhibitions were organized by independent curators, such as Marvin Heiferman, Clarissa Dalyrymple, and Christopher Sweet. Also there were exhibitions held in conjunction with other galleries, including Leo Castelli Graphics, Jim Kempner Fine Art, and the Robert Miller Gallery.

The gallery closed in 1992. Susan Lorence continues to work as a New York-based independent dealer. Robert Monk is Director at the Gagosian Gallery in New York City.
Provenance:
The Lorence-Monk Gallery Records were donated by Susan Lorence and Robert Monk in 2002.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art, Modern -- 20th century  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Scrapbooks
Citation:
Lorence-Monk Gallery records, 1961-1992. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.loremong
See more items in:
Lorence-Monk Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90e62c05a-117a-4999-96f9-ffa42ba9dde8
EDAN-URL:
ead_collection:sova-aaa-loremong
Online Media:

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